THE ART OF PAINTING 249 things grow and decay, how they twist and turn and are sometimes blocked and compressed, and how they prosper and thrive in freedom. The roots, stalks, joints, and leaves go through infinite variations, following different rhythms independent of one another. And yet they are all true to nature and completely satisfying to the human spirit. These are records of the inspirations of a great soul, . . . Those who understand the inner spirit of things and examine these paintings carefully will see that I am right." All painting is unconscious reflection of a philosophy. Chinese paint- ings unconsciously express the oneness of man with nature and the essential unity of the great mystic procession of life in which the human being occupies but a smalj and transitory part. In this sense, the so- called impressionistic Chinese painting, whether of a twig of bamboo, a group of gnarled roots, or rain in the mountains, or snow over the river, is a pantheistic revelry. The complete identification of the painter with the painted object cannot be more clearly expressed than in the poem Su Tungpo wrote about a picture of bamboos and rocks which he painted on the wall of a friend's house. "Receiving the moisture of wine, My intestines sprout and fork out, And from out my liver and lungs Shoot rocks and bamboos, Surging through my breast, irresistible, They find expression on your snow-white wall"